37 2 Navarra, 1328-1425 (Pamplona: Institución Príncipe de Viana, 1987); Francesca Español Bertrán, El Gòtic Català (Barcelona: Angle Editorial, 2002); Nickson, Toledo Cathedral. 71. See, for example, Rafael Cómez Ramos, ‘Tradición e Innovación Artística en Castilla en el Siglo XIII’, Alcanate. Revista de estudios alfonsíes 3 (2003): pp. 135-163; Domenge i Mesquida, ‘Guillem Sagrera et «lo modern de son temps»’; Serra Desfilis, ‘Promotores, tradiciones e innovación’. 72. Rocío Sánchez Ameijeiras, ‘Dreams of Kings and Buildings: Visual and Literary Culture in Galicia (1157–1230)’, in D’Emilio (ed.), Culture and society in medieval Galicia: A cultural crossroads at the edge of Europe (Brepols: Brill, 2015), pp. 695-764, here pp. 708-25. The author offered an extended version of this idea at the conference from which these papers derive, but unfortunately it was not possible for her to submit a paper of her own. 73. Javier Martínez de Aguirre Aldaz, Leopoldo Gil Cornet and M. Orbe Sivatte, Roncesvalles. Hospital y santuario en el Camino de Santiago (Pamplona: Fundación para la Conservación del Patrimonio Histórico de Navarra, 2012), pp. 38-48. 74. Nickson, Toledo Cathedral, pp. 81-94. The ‘Sumptuous 75. Arturo Zaragozá Catalán, ‘Inspiración bíblica y presencia de la antigüedad en el episodio tardogótico valenciano’, in Dauksis Ortolá and Taberner (eds.), Historia de la ciudad II: Territorio, sociedad y patrimonio (Valencia: Instituto para la Comunicación, Asesoría, 2000), pp. 166-183. Style’: Richly 76. See Francesca Español Bertrán, ‘El claustro gótico de la catedral de Lérida: forma y función’, in Klein (ed.), Der Mittelalterliche Kreuzgang: Architektur, Funktion und Programm (Regensburg: Schnell + Steiner, 2003), pp. 352-367. Decorated 77. Leopoldo Torres Balbás, ‘Filiación arquitectónica de la Catedral de Pamplona’, Príncipe de Viana 7: 24 (1946): pp. 471-508, here pp. 487-502. 78. Rabasa Díaz, López Mozo and Alonso Rodríguez, Gothic Churches Obra congrua. 79. Julio P. Polo, ‘El Modelo ‘hallenkirchen’ en Castilla’, in Alonso Ruiz (ed.), La arquitectura tardogótica castellana entre Europa y AméricaSilex, 2011), pp. 281-311. See also Begoña Alonso’s essay in this collection. in the Reign of Alfonso the Learned HENRIK KARGE TECHNICAL UNIVERSITY, DRESDEN 38 Henrik Karge The ‘Sumptuous Style’: Richly Decorated Gothic Churches in the Reign of Alfonso the Learned 39 French Rayonnant style, because its structure does not show any traces of Spanish traditions. Its first architect, Master Simon (mentioned in 1261), probably came to Spain together with a squad of skilled stonemasons from Champagne. This is confirmed by comparisons with several churches from that region: the plan of León Cathedral recalls that of the cathedral of Reims; the façade shows analogies with Saint-Nicaise at Reims, the inner structure with Saint-Jacques in the same town. The closest similarities are with the cathedral of Châlons-en-Champagne (ca. 1230–1260), and it is possible that Master Simon had been trained in its workshop. The architect included, moreover, references to French royal buildings such as Saint-Denis and the Sainte-Chapelle in Paris.5 In this essay I will focus not on the geometrical systems of the style rayonnant, but instead on its rich sculptural decoration and naturalistic forms. Returning to the earliest phases of Gothic architecture, we find the substitution of the rich compositions of figurative scenes, leaves and ribbons that characterise late Romanesque decorations with standardised vegetal capitals in the form of buds, so-called crochets. But in the second quarter of the thirteenth century there evolved a more complex world of naturalistic foliage, including the precise imitation of particular kinds of leaves as a result of empirical studies of nature. This fascinating new process was pioneered at Reims Cathedral (Fig. 2.2), and several churches in Germany, such as Saint Elisabeth’s in Marburg or Fig. 2.1. León Naumburg Cathedral (Fig. 2.3), exhibit famous examples of Gothic imitatio naturae.6 Naturalistic Cathedral, nave elevation. From foliage of the same type is found in some English buildings of the early Decorated Style, most Georg Dehio and famously the chapter house of Southwell Minster, built in the 1270s.7 Gustav von Bezold, Die kirchliche To some extent such exuberant naturalistic foliage sits awkwardly with the refined geometry Baukunst des of Rayonnant buildings, and in most cases such ornament was restricted to discrete areas of the Abendlandes, atlas, vol. 5 (Stuttgart: church, such as portals. If we disregard the special cases of Italy and England, where the French Cotta 1901), plate Rayonnant system was never adapted completely, there is only one group of buildings that 523, 2. combines rich vegetal decoration with the architectural system of the style rayonnant.8 These are the ecclesiastical buildings created in the third quarter of the thirteenth century in the kingdom of Castile, buildings that represent a specific artistic current in the reign of King Alfonso the Learned (1252–1284). The most important examples are the cloister of the cathedral of Burgos, There are few periods in the Middle Ages in which the vegetal and anthropomorphic forms the presbytery of Toledo Cathedral, some portals in the abbeys of Las Huelgas de Burgos and of architectural ornament exhibit the same variety and artistic quality as in the later thirteenth Cañas (Rioja), and the triforium in the nave of the cathedral of Cuenca. These monuments have century. Capitals and friezes of Gothic churches of this period are full of naturalistic leaves that been examined thoroughly by various authors, but the lavish decoration of Spanish style rayonnant vividly and seductively suggest the empirical discovery of nature. That this moment of apparent buildings has never been comprehensively studied. naturalism was far from inevitable is demonstrated by the new stylisation of artistic forms that emerged in nearly all European countries from the beginning of the fourteenth century.1 Considering the particular importance of naturalistic ornament in the thirteenth century, studies of the phenomenon are surprisingly rare.2 This is probably due to dominance of geometrical patterns in Gothic architecture in the same decades in which naturalistic foliage was flowering. This new system of the so-called style rayonnant—the most famous example being the royal Sainte-Chapelle in Paris—was characterised by technical boldness and by geometrical designs, especially in window tracery, as a result of advanced planning methods and as an expression of the intellectualisation of architecture.3 Thestyle rayonnant, elaborated in France under the reign of King Louis IX, generated a system of planning and constructing that became the dominant model for church building throughout Fig. 2.2. Reims Cathedral, on Europe. Outside France the technological prerequisites for such systematic geometrical planning the south side of existed only in a reduced form. In other European countries, we find that only isolated formal the nave. From Hartmut Krohm motifs derived from the Rayonnant system were integrated into local building traditions. Examples and Holger include Westminster Abbey in England; the cathedral of Regensburg and the parish church of St. Kunde (eds.), Der Naumburger Meister 4 Marien in Lübeck, both in Germany; and the cathedral of Uppsala in Sweden. In my view, there – Bildhauer und Architekt im Europa are only two ‘pure’ examples of Rayonnant architecture outside France: the cathedrals of Cologne der Kathedralen in western Germany and of León in northern Spain (Fig. 2.1), of which only the latter was finished (Petersberg: Imhof, 2011), 1: p. 295, in the Middle Ages. Fig. 2. Indeed, the cathedral of León, built from 1255, can be considered an export work of the 40 Henrik Karge The ‘Sumptuous Style’: Richly Decorated Gothic Churches in the Reign of Alfonso the Learned 41 Fig. 2.3. Naumburg Cathedral, capitals of the western rood screen. From Hartmut Krohm and Holger Kunde (eds.), Der Naumburger Meister – Bildhauer und Architekt im Europa der Kathedralen Fig. 2.5 (Petersberg: Imhof, Burgos Cathedral, 2011), 1: p. 267, cloister, south wing Fig. 1. from east (1260s). piers but also the arches that reinforce the outer walls of the cloister in two parallel lines (Figs. The most important sculptural and ornamental ensemble of this group is the cloister, the 2.5 and 2.7). Indeed, such is the opulence of the foliage that the geometrical logic of the arches Claustro Nuevo, of the cathedral of Burgos (Figs. 2.4 to 2.9) – part of a complex programme of is almost hidden. The leaves are elaborated to such a degree that numerous botanical species can 9 The result is one of the most extension realised after the consecration of the cathedral in 1260. be distinguished. In her important study of the cloister, the Swiss scholar Regine Abegg identifies striking Rayonnant ensembles of anywhere in Europe, and an unusual one in view of its high vine, ivy, holly and other plants.11 Various busts, human heads and grotesque figures also nestle degree of ornamentation. The architecture of the cloister of Burgos Cathedral corresponds to a amidst these leaves and in those of the consoles supporting the cloister’s figural sculptures. As these style rayonnant great extent to the technological and aesthetic system of the French , as demonstrated consoles course with the walls of the cloister behind them, it is clear these little anthropomorphic 10 Vegetal by the similarity of the window tracery (Fig. 2.4) to that of the Sainte-Chapelle in Paris. figures were executed by the same sculptors responsible for the foliage elsewhere in the cloister. decoration in the Sainte-Chapelle is also quite rich, and on occasion strikingly naturalistic, but in Most scholars dealing with the Burgos cloister sculptures have focused on the sculpted figures the cloister at Burgos vegetal decoration has colonised a far greater proportion of the architecture on the outer walls and on the corner piers, some of which are of an extraordinarily high quality.